This book explores changes in emotional cultures of the early modern battlefield. Military action involves extraordinary modes of emotional experience and affective control of the soldier, and it evokes strong emotional reactions in society at large. While emotional experiences of actors and observers may differ radically, they can also be tightly connected through social interaction, cultural representations and mediatisation. The book integrates psychological, social and cultural perspectives on the battlefield, looking at emotional behaviour, expression and representation in a great variety of primary source material. In three steps it discusses the emotional practices in the army, the emotional experiences of the individual combatant and the emotions of the mediated battlefield in the visual arts.

Erika Kuijpers teaches cultural history at VU University, the Netherlands. Her previous work concerned the social history of early modern migration and labour relations. From 2008 to 2013 she worked at Leiden University, researching memories of the Dutch Revolt, as part of the VICI research project Tales of the Revolt: Memory, Oblivion and Identity in the Low Countries, 1566–1700. She is co-editor of the volume Memory before Modernity: Practices of Memory in Early Modern Europe (2013) and is working on a monograph about the way early modern witnesses and victims of war dealt with traumatic memories.

Cornelis van der Haven is a literary historian who has published on Dutch and German theatre and literature in the 17th and 18th centuries, with a strong focus on the role of literary texts in shaping cultural and social identities. He lectures at the Literary Department of Ghent University, Belgium.

C O N T E N T S

1 Erika Kuijpers and Cornelis van der Haven, Battlefield Emotions 1500–1800: Practices, Experience, Imagination
2 Cornelis van der Haven, Drill and Allocution as Emotional Practices in Seventeenth-Century Dutch Poetry, Plays, and Military Treatises
3 Andreas Bähr, Magical Swords and Heavenly Weapons: Battlefield Fear(lessness) in the Seventeenth Century
4 Bettina Noak, Emotions, Imagination, and Surgery: Wounded Warriors in the Work of Ambroise Paré and Johan van Beverwijck
5 Ilya Berkovich, Fear, Honour and Emotional Control on the Eighteenth-Century Battlefield
6 Johan Verberckmoes, Early Modern Jokes on Fearing Soldiers
7 Brian Sandberg, ‘His Courage Produced More Fear in His Enemies than Shame in His Soldiers’: Siege Combat and Emotional Display in the French Wars of Religion
8 Marian Füssel, Emotions in the Making: The Transformation of Battlefield Experiences during the Seven Years’ War (1756–63)
9 Ian Germani, Mediated Battlefields of the French Revolution and Emotives at Work
10 Mary Favret, Whose Battlefield Emotion?
11 Lisa De Boer, The Sidelong Glance: Tracing Battlefield Emotions in Dutch Art of the Golden Age
12 Valerie Mainz, Deflecting the Fire of Eighteenth-Century French Battle Painting
13 Philip Shaw, Picturing Valenciennes: Philippe-Jacques de Loutherbourg and the Emotional Regulation of British Military Art in the 1790s
14 Dorothee Sturkenboom, Battlefield Emotions in Early Modern Europe: Trends, Key Issues, and Blind Spots

This book examines a range of visual images of military recruitment to explore changing notions of glory, or of gloire, during the French Revolution. It raises questions about how this event re-orientated notions of ‘citizenship’ and of service to ‘la Patrie’. The opening lines of the Marseillaise are grandly declamatory: Allons enfants de la Patrie/le jour de gloire est arrivé! or, in English: Arise, children of the Homeland/The day of glory has arrived! What do these words mean in their later eighteenth-century French context? What was gloire and how was it changed by the revolutionary process? This military song, later adopted as the national anthem, represents a deceptively unifying moment of collective engagement in the making of the modern French nation. Valerie Mainz questions this through a close study of visual imagery dealing with the issue of military recruitment. From neoclassical painting to popular prints, such images typically dealt with the shift from civilian to soldier, focusing on how men, and not women, were called to serve the Homeland.

Valerie Mainz is Senior Lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, UK, having previously worked in both the commercial and subsidised sectors of the theatre. She has curated exhibitions on the French Revolution at the University Gallery, University of Leeds in 1998, at the Musée de la Révolution française, Vizille in 1999 and, together with Richard Williams, at the Henry Moore Institute, Leeds in 2006.

C O N T E N T S

Introduction
Signing Up before the Revolution
Transforming
Recruitment and Revolution before Thermidor
Fighting Women
Fame’s Two Trumpets